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90-570: The name Akademie Schloss Solitude unites the belief in artistic, scientific, and societal exchange with the notion of a refuge, a credo which underlays the construction of the Schloss Solitude from the very beginning. Residencies at Akademie Schloss Solitude enable fellows to devote themselves to their research projects under favorable material and intellectual conditions. For them, the Akademie Schloss Solitude becomes

180-470: A loggia , a vestibule , two cabinets, and a bedroom. Adjacent to the palatial building are two semicircular buildings. The Western Wing contained amenities, while the Eastern was the actual royal apartment. The Duke resided on the ground floor, and his mistress on the second floor with the ducal chapel. An additional ten houses were built on either end of the wings. Since 1990, these buildings have housed

270-597: A dome representing the heavens crowded with colourful Biblical figures. Other notable pilgrimage churches include the Basilica of the Fourteen Holy Helpers by Balthasar Neumann (1743 – 1772). Johann Michael Fischer was the architect of Ottobeuren Abbey (1748 – 1766), another Bavarian Rococo landmark. The church features, like much of the rococo architecture in Germany, a remarkable contrast between

360-556: A million florins . Construction was directed by La Guêpière and Johann Friedrich Weyhing  [ de ] . From 1764 and 1768, Charles Eugene constructed the Solitude Avenue  [ de ] , a 13-kilometre (8.1 mi) long road from Solitude Palace to Ludwigsburg and its palace . Use of the Avenue was reserved for the royal household. In 1820, the Avenue became the standard reference for measuring distance in

450-460: A new palace that received the name "Solitude". Friedrich Christoph Hemmerling was named head gardener and charged with its design and creation. Priority during construction went towards the two wings next to the palatial building until they were completed in 1766. It was from these that the Duke closely monitored construction. La Guêpière departed from Württemberg for his native Paris in 1768. He

540-564: A period of nine months. With this thematic focus, the Akademie wishes to consolidate the importance accorded by society to transdisciplinary and discursive-artistic work, providing content-related momentum. The decision regarding the fellowships' allocation is taken by independent specialist jurors responsible for the various spheres. New jurors are appointed every 24 months. Furthermore, the dynamic transdisciplinary online forum Schlosspost addresses current issues in art, culture, society, and

630-650: A sense of movement in every direction. It was most commonly found in the interiors of churches, usually closely integrated with painting and the architecture. Religious sculpture followed the Italian baroque style, as exemplified in the theatrical altarpiece of the Karlskirche in Vienna. Early Rococo or Rocaille sculpture in France sculpture was lighter and offered more movement than the classical style of Louis XIV. It

720-516: A theatrical exuberance. On the walls of new Paris salons, the twisting and winding designs, usually made of gilded or painted stucco, wound around the doorways and mirrors like vines. One of the earliest examples was the Hôtel Soubise in Paris (1704 – 1705), with its famous oval salon decorated with paintings by Boucher, and Charles-Joseph Natoire . The best known French furniture designer of

810-411: A transdisciplinary learning unit, a platform for communal learning outside the formal educational system, a place which is open to a broader and more diverse public. By experimenting with artistic research practices and new formats, the Akademie aims to change societal processes and to stimulate intergenerational discourse. The artists are living and working in ready-furnished studios, that are located in

900-468: Is an exceptionally ornamental and dramatic style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and the illusion of motion and drama. It is often described as the final expression of the Baroque movement. The Rococo style began in France in the 1730s as a reaction against

990-538: Is located on an elongated ridge between the towns of Leonberg , Gerlingen and Stuttgart in Baden-Württemberg. Charles Eugene von Württemberg succeeded his father Charles Alexander as Duke of Württemberg in 1737, when he was only nine. The Duchy of Württemberg was ruled by a regency council until 1744, when Charles Eugene reached the age of majority at 16. His reign would be marked by economic difficulty, political strife, and extravagance. By

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1080-432: Is made up by a primary palatial structure, two outbuildings, and some avenues. There was also an extensive garden, laid out by Friedrich Christoph Hemmerling along preexisting paths. Reinhard Heinrich Ferdinand Fischer drew up plans for massive expansions to the garden and palace complex from 1766 to 1772 that closely followed the principles of French horticulturalist Antoine-Joseph Dezallier d'Argenville . The south garden

1170-514: Is made up by oval-shaped windows connected by flowery garlands and topped by trophies of arms and frescoes. Above the north and south entrances into the White Hall are, respectively, the coat of arms of the Duchy of Württemberg and those of Duke Charles Eugene. The ceiling fresco was painted around 1768 by Nicolas Guibal and glorifies Charles Eugene's reign with personified virtues, flanking

1260-614: Is sometimes referred to as Zopfstil . Rococo remained popular in certain German provincial states and in Italy, until the second phase of neoclassicism, " Empire style ", arrived with Napoleonic governments and swept Rococo away. The ornamental style called rocaille emerged in France between 1710 and 1750, mostly during the regency and reign of Louis XV ; the style was also called Louis Quinze . Its principal characteristics were picturesque detail, curves and counter-curves, asymmetry, and

1350-660: Is the Library Cabinet, whose walls are painted in a mimicry of woodgrain . The east wing consists of drawing rooms for visitors, namely two halls and four cabinets. The first room is the Assembly Room , painted blue and decorated with more golden stucco, and spanning the entire width of the building. Beyond is the Music Room, painted white and decorated with mirrors, yet more stucco, and overdoors painted by court painter Adolf Friedrich Harper . Attached to

1440-626: The Akademie Schloss Solitude . The Graevenitz Museum  [ de ] , displaying works by the Stuttgart sculptor Fritz von Graevenitz  [ de ] , is also located here. The palace chapel was constructed in a combination of the Rococo and Neoclassical styles. It is painted white in its entirety, except for the fresco on the flat ceiling painted by Guibal in 1766, and paired columns flank each window. Just above

1530-697: The Kingdom of Württemberg . The main palatial building follows a standard Rococo plan, consisting of a large, oval-shaped hall with two halls that end in a pavilion. It is surrounded by a terrace supported on a series of arches that rises to the beletage , with a belvedere and staircases on either side. The center of the building is the White Hall, whose walls are clad in stucco marble and passed through via six French doors , flanked by Corinthian columns . The stucco work, by Valentin Sonnenschein  [ de ] , Johann Adam Bauer, and Ludovico Bossi,

1620-508: The Sevres Porcelain manufactory and produced small-scale works, usually about love and gaiety, for production in series. A Rococo period existed in music history , although it is not as well known as the earlier Baroque and later Classical forms. The Rococo music style itself developed out of baroque music both in France, where the new style was referred to as style galant ("gallant" or "elegant" style), and in Germany, where it

1710-751: The commedia dell'arte , city street vendors, lovers and figures in fashionable clothes, and pairs of birds. Johann Joachim Kändler was the most important modeller of Meissen porcelain , the earliest European factory, which remained the most important until about 1760. The Swiss-born German sculptor Franz Anton Bustelli produced a wide variety of colourful figures for the Nymphenburg Porcelain Manufactory in Bavaria, which were sold throughout Europe. The French sculptor Étienne-Maurice Falconet (1716 – 1791) followed this example. While also making large-scale works, he became director of

1800-498: The porcelain figure, or small group of figures, initially replacing sugar sculptures on grand dining room tables, but soon popular for placing on mantelpieces and furniture. The number of European factories grew steadily through the century, and some made porcelain that the expanding middle classes could afford. The amount of colourful overglaze decoration used on them also increased. They were usually modelled by artists who had trained in sculpture. Common subjects included figures from

1890-788: The 1760s, Charles Eugene's policies and ambitions had met with failure. He had failed to achieve increased rank and prestige from the War of the Austrian Succession or the Seven Years' War , and had diplomatically isolated Württemberg because of his jostling and means of acquiring war funds. He had repeatedly withdrawn funding from the construction of his palaces, one of which was Monrepos , in Ludwigsburg . Charles Eugene turned his attention back to Stuttgart and, in 1763, he hired of architects led by Philippe de La Guêpière to plan

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1980-481: The 18th century, a reaction against the Rococo style occurred, primarily against its perceived overuse of ornamentation and decoration. Led by Christoph Willibald Gluck , this reaction ushered in the Classical era . By the early 19th century, Catholic opinion had turned against the suitability of the style for ecclesiastical contexts because it was "in no way conducive to sentiments of devotion". Russian composer of

2070-506: The Bavarian pilgrimage churches, the exterior is very simple, with pastel walls, and little ornament. Entering the church the visitor encounters an astonishing theatre of movement and light. It features an oval-shaped sanctuary, and a deambulatory in the same form, filling in the church with light from all sides. The white walls contrasted with columns of blue and pink stucco in the choir, and the domed ceiling surrounded by plaster angels below

2160-452: The Ducal coronet , triumphing over their inverse aspect as Greco-Roman deities represent highlights of the Duke's reign. Peace overcomes War, Bacchus and Ceres hold grapevines to symbolize local viticulture , and Apollo , leading various forms of art personified, celebrates Württemberg's cultural achievements. On top of the cupola is a viewing platform accessed by a hidden staircase in

2250-545: The French original. The German style was characterized by an explosion of forms that cascaded down the walls. It featured molding formed into curves and counter-curves, twisting and turning patterns, ceilings and walls with no right angles, and stucco foliage which seemed to be creeping up the walls and across the ceiling. The decoration was often gilded or silvered to give it contrast with the white or pale pastel walls. The Belgian-born architect and designer François de Cuvilliés

2340-761: The Great to create fountain sculpture for Sanssouci Park , Prussia (1740s). Étienne-Maurice Falconet (1716 – 1791) was another leading French sculptor during the period. Falconet was most famous for his Bronze Horseman statue of Peter the Great in St. Petersburg, but he also created a series of smaller works for wealthy collectors, which could be reproduced in a series in terracotta or cast in bronze. The French sculptors, Jean-Louis Lemoyne , Jean-Baptiste Lemoyne , Louis-Simon Boizot , Michel Clodion , Lambert-Sigisbert Adam and Jean-Baptiste Pigalle all produced sculpture in series for collectors. In Italy, Antonio Corradini

2430-591: The Internet as a production site. Open calls with varied themes are developed three times a year with invited curators. For each call, four selected artists or teams receive a four-week long web residency. These present the process and results of their online work on the Schlosspost platform. The program takes place exclusively online. The ZKM | Center for Art and Media has been a program partner since 2017. All web residency projects as well as information on

2520-609: The Marquis of Marigny, and was named director general of the King's Buildings . He turned official French architecture toward the neoclassical. Cochin became an important art critic; he denounced the petit style of Boucher, and called for a grand style with a new emphasis on antiquity and nobility in the academies of painting and architecture. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of

2610-465: The Music Room are four themed cabinets: the Picture, Red, Green, and Yellow Cabinets. The Picture Cabinet displays over 30 landscape paintings on its wall panels. The "basement" of the main building is divided exactly in half by and entered through an oval chamber directly beneath the White Hall. The walls of this chamber are covered with more trophies of arms. After 1771, the apartments were made up by

2700-540: The Renaissance. In the late 17th and early 18th century, rocaille became the term for a kind of decorative motif or ornament that appeared in the late Louis XIV style , in the form of a seashell interlaced with acanthus leaves. In 1736 the designer and jeweler Jean Mondon published the Premier Livre de forme rocquaille et cartel , a collection of designs for ornaments of furniture and interior decoration. It

2790-492: The Rococo had a spiritual aspect to it which led to its widespread use in church interiors, particularly in Central Europe, Portugal, and South America. The word rococo was first used as a humorous variation of the word rocaille by Pierre-Maurice Quays (1777-1803) Rocaille was originally a method of decoration , using pebbles, seashells, and cement, which was often used to decorate grottoes and fountains since

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2880-610: The adjoining buildings of the Schloss Solitude in Stuttgart . The internationality of this institution, the interdisciplinarity in the work, which is the result of scientific and artistic exchange, and the openness to novelties are significant characteristics of the Akademie Schloss Solitude. The Akademie Schloss Solitude is subsidized by the State of Baden-Württemberg . The founding director Prof. Jean-Baptiste Joly has been

2970-789: The arrival of Chinoiserie , often in the form of lacquered and gilded commodes, called falcon de Chine of Vernis Martin , after the ebenist who introduced the technique to France. Ormolu , or gilded bronze, was used by master craftsmen including Jean-Pierre Latz . Latz made a particularly ornate clock mounted atop a cartonnier for Frederick the Great for his palace in Potsdam . Pieces of imported Chinese porcelain were often mounted in ormolu (gilded bronze) rococo settings for display on tables or consoles in salons. Other craftsmen imitated Japanese lacquered furniture, and produced commodes with Japanese motifs. British Rococo tended to be more restrained. Thomas Chippendale 's furniture designs kept

3060-417: The artistic director of Akademie Schloss Solitude from January 1, 1989 until March 31, 2018. Since May 1, 2018, Elke aus dem Moore has been artistic director of Akademie Schloss Solitude. The Akademie Schloss Solitude has granted fellowships since 1990. Between 50 and 65 live/work residencies are awarded for a period between six, nine or twelve months every two years. International artists and scientists from

3150-724: The arts. Kent travelled to Italy with Lord Burlington between 1712 and 1720, and brought back many models and ideas from Palladio. He designed the furniture for Hampton Court Palace (1732), Lord Burlington's Chiswick House (1729), London, Thomas Coke's Holkham Hall , Norfolk, Robert Walpole's Houghton Hall , for Devonshire House in London, and at Rousham House . Mahogany made its appearance in England in about 1720, and immediately became popular for furniture, along with walnut wood. The Rococo began to make an appearance in England between 1740 and 1750. The furniture of Thomas Chippendale

3240-703: The ballroom ceiling of the Ca' Rezzonico in the quadraturo manner, giving the illusion of three dimensions. Tiepolo travelled to Germany with his son during 1752 – 1754, decorating the ceilings of the Würzburg Residence , one of the major landmarks of the Bavarian Rococo. An earlier celebrated Venetian painter was Giovanni Battista Piazzetta , who painted several notable church ceilings. The Venetian Rococo also featured exceptional glassware, particularly Murano glass , often engraved and coloured, which

3330-593: The best known examples of the style. Boucher participated in all of the genres of the time, designing tapestries, models for porcelain sculpture, set decorations for the Paris Opera and Opéra-Comique , and decor for the Fair of Saint-Laurent . Other important painters of the Fête Galante style included Nicolas Lancret and Jean-Baptiste Pater . The style particularly influenced François Lemoyne , who painted

3420-459: The boundaries between the art genres, and are characterised by a light-filled weightlessness, festive cheerfulness and movement. The Rococo decorative style reached its summit in southern Germany and Austria from the 1730s until the 1770s. There it dominates the church landscape to this day and is deeply anchored there in popular culture. It was first introduced from France through the publications and works of French architects and decorators, including

3510-778: The columns, on the cornices are putti wielding the Arma Christi . At the chapel's entrance is the Ducal box, part of Charles Eugene's suite. American journalist and traitor Jane Anderson and two others stay at an abandoned Schloss Solitude during the Second World War in the novel The War Begins in Paris (published by Little, Brown & Co. in 2023.) Rococo Rococo , less commonly Roccoco ( / r ə ˈ k oʊ k oʊ / rə- KOH -koh , US also / ˌ r oʊ k ə ˈ k oʊ / ROH -kə- KOH ; French: [ʁɔkɔko] or [ʁokoko] ), also known as Late Baroque ,

3600-433: The complex frames made for mirrors and paintings, which were sculpted in plaster and often gilded; and the use of vegetal forms (vines, leaves, flowers) intertwined in complex designs. The furniture also featured sinuous curves and vegetal designs. The leading furniture designers and craftsmen in the style included Juste-Aurele Meissonier , Charles Cressent , and Nicolas Pineau . The Rocaille style lasted in France until

3690-475: The curves and feel, but stopped short of the French heights of whimsy. The most successful exponent of British Rococo was probably Thomas Johnson , a gifted carver and furniture designer working in London in the mid-18th century. Elements of the Rocaille style appeared in the work of some French painters, including a taste for the picturesque in details; curves and counter-curves; and dissymmetry which replaced

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3780-642: The curving lines and carved ornament of the French Rocaille, but with a particular Venetian variation; the pieces were painted, often with landscapes or flowers or scenes from Guardi or other painters, or Chinoiserie , against a blue or green background, matching the colours of the Venetian school of painters whose work decorated the salons. Notable decorative painters included Giovanni Battista Tiepolo , who painted ceilings and murals of both churches and palazzos, and Giovanni Battista Crosato who painted

3870-773: The decoration of palaces and churches. The sculpture was closely integrated with the architecture; it was impossible to know where one stopped and the other began. In the Belvedere Palace in Vienna, (1721 – 1722), the vaulted ceiling of the Hall of the Atlantes is held up on the shoulders of muscular figures designed by Johann Lukas von Hildebrandt . The portal of the Palace of the Marqués de Dos Aguas in Valencia (1715 – 1776)

3960-404: The decoration. The main ornaments of Rococo are: asymmetrical shells, acanthus and other leaves, birds, bouquets of flowers, fruit, musical instruments, angels and Chinoiserie ( pagodas , dragons, monkeys, bizarre flowers and Chinese people). The style often integrated painting, moulded stucco, and wood carving, and quadratura , or illusionist ceiling paintings, which were designed to give

4050-499: The digital world, and provides insights into the practices of international artists and scientists. It allows visibility to Solitude's network of alumni, friends, and experts in more than 120 countries, promoting new political voices and collective discourses in an open and sustainable space. By exploring new forms of art publishing and writing, Schlosspost combines critical and serious – but also playful – attitudes and ways of thinking. Believing in art's transformative potential, it opens

4140-615: The door to a multidimensional world, as well as transversal forms of knowledge and alternative futures. It shapes the digital sphere as a cocreative, transcultural, and nonexclusive space of experimentation and knowledge production. Schlosspost publishes regular open calls for thematic online issues. Artists and authors from around the globe can participate. With the Web Residency microgrant (750 USD) "Web Residencies by Solitude & ZKM", Akademie Schloss Solitude supports artists, designers, technologists, hackers, and scientists who use

4230-572: The ducal court led Philippe de La Guêpière , though Charles Eugene was actively involved in the planning. The Duke desired the palace to be designed in the Rococo style, like his earlier project at Schloss Favorite . By 1763, however, the Rococo style had gone out of vogue in favor of Neoclassical architecture , and Solitude's interiors reflect this. At first, Charles Eugene intended to build an unassuming hunting retreat. He later changed his mind, and construction would last seven years and cost around

4320-458: The early German Rococo is Würzburg Residence (1737 – 1744) constructed for Prince-Bishop Johann Philipp Franz von Schönborn of Würzburg by Balthasar Neumann . Neumann had travelled to Paris and consulted with the French rocaille decorative artists Germain Boffrand and Robert de Cotte . While the exterior was in more sober Baroque style, the interior, particularly the stairways and ceilings,

4410-432: The first time in its 30-year history, Akademie Schloss Solitude is expanding its profile with the addition of a thematic focus to the 2019 application round for fellows joining the Akademie in 2020–2021. From 2020 onward, Akademie Schloss Solitude in cooperation with KfW Stiftung is launching a new program with a specific content-related focus, which a group of seven fellows is invited to investigate in any way they wish over

4500-653: The following characteristics, which Baroque does not: The Rocaille style, or French Rococo, appeared in Paris during the reign of Louis XV , and flourished between about 1723 and 1759. The style was used particularly in salons, a new style of room designed to impress and entertain guests. The most prominent example was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735 – 1740). The characteristics of French Rococo included exceptional artistry, especially in

4590-429: The following spheres of practice can apply for a fellowship: VISUAL (visual arts and media), AURAL & PHYSICAL (music and performing arts), DIGITAL (digital art, gaming, digital journalism, digital publishing), SPATIAL (architecture and design), TEXTUAL (literature and language), SOCIETAL/COMMUNAL-BASED WORK (education, mediation, theory), SCIENTIFIC (humanities, social, natural and economic sciences). For

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4680-515: The government of Baden-Württemberg restored the palace's interiors. From May 1968 to 1986, an autonomous dorm was located in today's academy building. Many of the residents were musicians, actors and dancers, as well as social workers, architects and engineers. Professor K.R.H. Sonderborg from the Stuttgart Art Academy, the conductor Manfred Schreier and the actress Bettina Kupfer were frequent guests. Solitude Palace's complex

4770-445: The grounds ceased. From the 1830s, however, King Charles I renovated the palace, while Queen Olga met with her relatives in the palace. Solitude was abandoned in the 20th century, the gardens fell into disrepair, and the ceiling frescoes by Nicolas Guibal were largely destroyed by water damage. The palace was used in times of war as a military hospital; during World War I , 23 soldiers died on its grounds. Between 1972 and 1983,

4860-531: The impression that those entering the room were looking up at the sky, where cherubs and other figures were gazing down at them. Materials used included stucco, either painted or left white; combinations of different coloured woods (usually oak, beech or walnut); lacquered wood in the Japanese style, ornament of gilded bronze, and marble tops of commodes or tables. The intent was to create an impression of surprise, awe and wonder on first view. Rococo tends to have

4950-404: The interiors, and soft pastel colours framed with large hooded windows and cornices on the exteriors featuring rocaille motifs, such as asymmetrical shells and rocks. Plafonds often featured rococo scrollwork surrounding allegorical paintings of ancient Greek and Roman gods and goddesses. Flooring was often inlaid with parquetry designs formed from different woods to create elaborate designs in

5040-481: The largest effect on the Rococo style. The Venetian painter Giovanni Battista Tiepolo , assisted by his son, Giovanni Domenico Tiepolo , was invited to paint frescoes for the Würzburg Residence (1720 – 1744). The most prominent painter of Bavarian rococo churches was Johann Baptist Zimmermann , who painted the ceiling of the Wieskirche (1745 – 1754). Rococo sculpture was theatrical, sensual and dynamic, giving

5130-765: The lavish decoration of the ceiling of the Salon of Hercules at the Palace of Versailles , completed in 1735. Paintings with fétes gallant and mythological themes by Boucher, Pierre-Charles Trémolières and Charles-Joseph Natoire decorated the famous salon of the Hôtel Soubise in Paris (1735 – 1740). Other Rococo painters include: Jean François de Troy (1679 – 1752), Jean-Baptiste van Loo (1685 – 1745), his two sons Louis-Michel van Loo (1707 – 1771) and Charles-Amédée-Philippe van Loo (1719 – 1795), his younger brother Charles-André van Loo (1705 – 1765), Nicolas Lancret (1690 – 1743), and Jean Honoré Fragonard (1732 – 1806). In Austria and Southern Germany, Italian painting had

5220-484: The mid-18th century, and while it became more curving and vegetal, it never achieved the extravagant exuberance of the Rococo in Bavaria, Austria and Italy. The discoveries of Roman antiquities beginning in 1738 at Herculaneum and especially at Pompeii in 1748 turned French architecture in the direction of the more symmetrical and less flamboyant neo-classicism . Artists in Italy, particularly Venice , also produced an exuberant Rococo style. Venetian commodes imitated

5310-414: The mistress of Louis XV contributed to the decline of the Rococo style. In 1750 she sent her brother, Abel-François Poisson de Vandières , on a two-year mission to study artistic and archeological developments in Italy. He was accompanied by several artists, including the engraver Charles-Nicolas Cochin and the architect Soufflot . They returned to Paris with a passion for classical art. Vandières became

5400-464: The more formal and geometric Louis XIV style . It was known as the "style Rocaille ", or "Rocaille style". It soon spread to other parts of Europe, particularly northern Italy, Austria, southern Germany, Central Europe and Russia. It also came to influence other arts, particularly sculpture, furniture, silverware, glassware, painting, music, theatre, and literature. Although originally a secular style primarily used for interiors of private residences,

5490-579: The movement of the baroque with exuberance, though the French rocaille never reached the extravagance of the Germanic rococo. The leading proponent was Antoine Watteau , particularly in The Embarkation for Cythera (1717), Louvre , in a genre called Fête galante depicting scenes of young nobles gathered together to celebrate in a pastoral setting. Watteau died in 1721 at the age of thirty-seven, but his work continued to have influence through

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5580-537: The north end of the White Hall. Some stone cartouches bearing statements from Charles Eugene are also found on the lower facade of the main building. Immediately to the west of the White Hall is the six rooms of the Ducal Apartment, which was used for impressing visitors. The first is an antechamber decorated with green and gold-painted stuccowork. Following this is the Marble Hall, the only room of

5670-478: The period was Juste-Aurèle Meissonnier (1695 – 1750), who was also a sculptor, painter. and goldsmith for the royal household. He held the title of official designer to the Chamber and Cabinet of Louis XV. His work is well known today because of the enormous number of engravings made of his work which popularized the style throughout Europe. He designed works for the royal families of Saxony and Portugal . Italy

5760-531: The period, with its emphasis on decorative mythology and gallantry, soon inspired a reaction, and a demand for more "noble" themes. While the Rococo continued in Germany and Austria, the French Academy in Rome began to teach the classic style. This was confirmed by the nomination of Jean François de Troy as director of the academy in 1738, and then in 1751 by Charles-Joseph Natoire . Madame de Pompadour ,

5850-576: The program can be found at this link: [1] The Schlosspost online platform and the Web Residencies program are supported by Baden-Württemberg's ministry for science, research, and the arts. Schloss Solitude Solitude Palace (German: Schloss Solitude ) is a Rococo schloss and hunting retreat commissioned by Charles Eugene, Duke of Württemberg . It was designed by Johann Friedrich Weyhing  [ de ] and Philippe de La Guêpière , and constructed from 1764 to 1769. It

5940-472: The regularity of the facade and the overabundance of decoration in the interior. In Great Britain, rococo was called the "French taste" and had less influence on design and the decorative arts than in continental Europe, although its influence was felt in such areas as silverwork, porcelain, and silks. William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not mentioning rococo by name, he argued in his Analysis of Beauty (1753) that

6030-692: The reign of Frederick the Great and combined influences from France, Germany (especially Saxony ) and the Netherlands . Its most famous adherent was the architect Georg Wenzeslaus von Knobelsdorff . Furthermore, the painter Antoine Pesne and even King Frederick himself influenced Knobelsdorff's designs. Famous buildings in the Frederician style include Sanssouci Palace , the Potsdam City Palace , and parts of Charlottenburg Palace . The art of François Boucher and other painters of

6120-557: The rest of the century. A version of Watteau's painting titled Pilgrimage to Cythera was purchased by Frederick the Great of Prussia in 1752 or 1765 to decorate his palace of Charlottenburg in Berlin. The successor of Watteau and the Féte Galante in decorative painting was François Boucher (1703 – 1770), the favorite painter of Madame de Pompadour . His work included the sensual Toilette de Venus (1746), which became one of

6210-505: The sculptor Claude III Audran , the interior designer Gilles-Marie Oppenordt , the architect Germain Boffrand , the sculptor Jean Mondon, and the draftsman and engraver Pierre Lepautre . Their work had an important influence on the German Rococo style, but does not reach the level of buildings in southern Germany. German architects adapted the Rococo style but made it far more asymmetric and loaded with more ornate decoration than

6300-483: The stairway led the visitors up through a stucco fantasy of paintings, sculpture, ironwork and decoration, with surprising views at every turn. In the 1740s and 1750s, a number of notable pilgrimage churches were constructed in Bavaria , with interiors decorated in a distinctive variant of the rococo style. One of the most notable examples is the Wieskirche (1745 – 1754) designed by Dominikus Zimmermann . Like most of

6390-419: The style of the 18th century, overloaded with twisting ornaments". In 1829, the author Stendhal described rococo as "the rocaille style of the 18th century". In the 19th century, the term was used to describe architecture or music which was excessively ornamental. Since the mid-19th century, the term has been accepted by art historians . While there is still some debate about the historical significance of

6480-583: The style, Rococo is now often considered as a distinct period in the development of European art . Rococo features exuberant decoration, with an abundance of curves, counter-curves, undulations and elements modeled on nature. The exteriors of Rococo buildings are often simple, while the interiors are entirely dominated by their ornament. The style was highly theatrical, designed to impress and awe at first sight. Floor plans of churches were often complex, featuring interlocking ovals; In palaces, grand stairways became centrepieces, and offered different points of view of

6570-635: The suite in the Neoclassical style and where Charles Eugene greeted guests, which leads into the Palm Room, so named for the golden stucco palm trees that frame its windows. The Palm Room serves as the entrance to the bedroom, to the south and decorated like the antechamber, and to two cabinets to the north. The first of the latter is the Writing Cabinet, painted in shades of gray and ornamented with more golden stucco. The second, and smaller,

6660-420: The superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists like Jacques-Louis David . In Germany, late 18th-century Rococo was ridiculed as Zopf und Perücke ("pigtail and periwig"), and this phase

6750-465: The undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism ). Rococo was slow in arriving in England. Before entering the Rococo, British furniture for a time followed the neoclassical Palladian model under designer William Kent , who designed for Lord Burlington and other important patrons of

6840-467: The woodwork. Russian orthodox church architecture was also heavily influenced by rococo designs during the eighteenth century, often featuring a square Greek cross design with four equidistant wings. Exteriors were painted in light pastel colours such as blues and pinks, and bell towers were often topped with gilded onion domes. Frederician Rococo is a form of Rococo which developed in Prussia during

6930-528: Was Thomas Johnson , who in 1761, very late in the period, published a catalogue of Rococo furniture designs. These include furnishings based on rather fantastic Chinese and Indian motifs, including a canopy bed crowned by a Chinese pagoda (now in the Victoria and Albert Museum ). Other notable figures in the British Rococo included the silversmith Charles Friedrich Kandler. The Russian rococo style

7020-582: Was among the leading sculptors of the Rococo style. A Venetian, he travelled around Europe, working for Peter the Great in St. Petersburg, for the courts in Austria and Naples . He preferred sentimental themes and made several skilled works of women with faces covered by veils, one of which is now in the Louvre . The most elaborate examples of rococo sculpture were found in Spain, Austria and southern Germany, in

7110-746: Was another place where the Rococo flourished, both in its early and later phases. Craftsmen in Rome, Milan and Venice all produced lavishly decorated furniture and decorative items. The sculpted decoration included fleurettes, palmettes, seashells, and foliage, carved in wood. The most extravagant rocaille forms were found in the consoles , tables designed to stand against walls. The Commodes , or chests, which had first appeared under Louis XIV, were richly decorated with rocaille ornament made of gilded bronze. They were made by master craftsmen including Jean-Pierre Latz and also featured marquetry of different-coloured woods, sometimes placed in draughtsboard cubic patterns, made with light and dark woods. The period also saw

7200-458: Was completely drenched in sculpture carved in marble, from designs by Hipolito Rovira Brocandel. The El Transparente altar, in the major chapel of Toledo Cathedral is a towering sculpture of polychrome marble and gilded stucco, combined with paintings, statues and symbols. It was made by Narciso Tomé (1721 – 1732), Its design allows light to pass through, and in changing light it seems to move. A new form of small-scale sculpture appeared,

7290-550: Was encouraged in particular by Madame de Pompadour , mistress of Louis XV, who commissioned many works for her chateaux and gardens. The sculptor Edmé Bouchardon represented Cupid engaged in carving his darts of love from the club of Hercules . Rococo figures also crowded the later fountains at Versailles , such as the Fountain of Neptune by Lambert-Sigisbert Adam and Nicolas-Sebastien Adam (1740). Based on their success at Versailles, they were invited to Prussia by Frederick

7380-406: Was exported across Europe. Works included multicolour chandeliers and mirrors with extremely ornate frames. In church construction, especially in the southern German-Austrian region, gigantic spatial creations are sometimes created for practical reasons alone, which, however, do not appear monumental, but are characterized by a unique fusion of architecture, painting, stucco, etc., often eliminating

7470-713: Was introduced largely by Empress Elisabeth and Catherine the Great , during the eighteenth century by court architects such as Francesco Bartolomeo Rastrelli . Rastrelli's work at palaces such as the Winter Palace in Saint Petersburg and the Catherine Palace in Tsarskoye Selo incorporated many features of western European rococo architecture, including grand rooms ornamented with gold leaf, mirrors, and large windows for natural light on

7560-603: Was much lighter and decorative. The Prince-Bishop imported the Italian Rococo painter Giovanni Battista Tiepolo in 1750 – 1753 to create a mural over the top of the three-level ceremonial stairway. Neumann described the interior of the residence as "a theatre of light". The stairway was also the central element in a residence Neumann built at the Augustusburg Palace in Brühl (1743 – 1748). In that building

7650-557: Was one of the first to create a Rococo building in Germany, with the pavilion of Amalienburg in Munich, (1734 – 1739), inspired by the pavilions of the Trianon and Marly in France. It was built as a hunting lodge, with a platform on the roof for shooting pheasants. The Hall of Mirrors in the interior, by the painter and stucco sculptor Johann Baptist Zimmermann , was far more exuberant than any French Rococo. Another notable example of

7740-409: Was referred to as empfindsamer Stil ("sensitive style"). It can be characterized as light, intimate music with extremely elaborate and refined forms of ornamentation . Exemplars include Jean Philippe Rameau , Louis-Claude Daquin and François Couperin in France; in Germany, the style's main proponents were C. P. E. Bach and Johann Christian Bach , two sons of J.S. Bach . In the second half of

7830-614: Was succeeded as court architect and as director of construction at Solitude by his student, Reinhard Heinrich Ferdinand Fischer . In 1770, Charles Eugene established the Hohe Karlsschule on the grounds of Solitude Palace. It was at this school that Friedrich Schiller studied in his youth and wrote The Robbers . The school moved into Stuttgart in 1775, the same year the Duke himself shifted his attention to nearby Hohenheim Palace in 1775. The last grand function held at Solitude took place in 1782, after which maintenance of

7920-537: Was the closest to the Rococo style, In 1754 he published "Gentleman's and Cabinet-makers' directory", a catalogue of designs for rococo, chinoiserie and even Gothic furniture, which achieved wide popularity, going through three editions. Unlike French designers, Chippendale did not employ marquetry or inlays in his furniture. The predominant designer of inlaid furniture were Vile and Cob, the cabinet-makers for King George III . Another important figure in British furniture

8010-419: Was the first appearance in print of the term rocaille to designate the style. The carved or moulded seashell motif was combined with palm leaves or twisting vines to decorate doorways, furniture, wall panels and other architectural elements. The term rococo was first used in print in 1825 to describe decoration which was "out of style and old-fashioned". It was used in 1828 for decoration "which belonged to

8100-413: Was used for the entertainment of residents and visitors to Solitude and offered a hedge maze , theater, orangery , riding hall , a chinoiserie house, and zoos. The surrounding forests were carefully manicured to facilitate the parforce  [ fr ] style of coursing . The grounds were allowed to fall into disrepair from 1770 onward. Castle Solitude was designed by a working group at

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